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Hi Rich,
I notice in Super Locrian, pattern 6, one of the b7 is played on the G string in doing the calesthenics, while practicing the scales and arpeggios it is on the B string. Should we try both positions for this b7 with the calisthenics and also writing of our solos?
Thanks,
TomTom,
Are you referring to something I played on the video? On the Scale and Arpeggio book and Workbook Calisthenics they are all on the 2nd string for the sake of consistency.
Let me know what video and on what exercise. There might be a reason I played it on the 3rd string unless I unconsciously just played an alternate fingering, which I sometimes do.Hi Rich,
What you play in the video for the scale and arpeggio, pattern 6 in Module 6 matches up with the diagrams on the video as well as what is in the Scale and Arpeggio book.
The video for the Bebop Calsisthenics 1E, pattern 6 (in module 6) is where you play the b7 on the 3rd string, which is different than the diagrams.
TomRich,
This is done on the first exercise and I believe the b7 is played this way (on third string) for all the other exercises for calisthenics 1E, pattern 6.
TomYes, you are correct, guilty as charged:) I am playing all of the b7s on the 3rd str. instead of the 2nd str. as notated in the books. I recently redid all the Calisthenics videos and wasn’t aware of this until you pointed out. It’s not wrong, it’s just not consistent with the books.
This is what I call “the 2nd-3rd string dilemma” and is the cause of ongoing confusion regarding many fingerings on the guitar. This is because it is the only set of 2 consecutive strings that are tuned in 3rds. I’m sure you know this, but I want to explain why. Because the rest of string pairs are tuned in 4ths, the fingerings never vary for them. However when we arrive on the 2nd or 3rd string, in most scale fingerings we have 2 options as where to play the next note. Which one is best? Neither one…it’s a matter of convenience depending on the circumstances.
Sometimes it’s easier to play the scale with one fingering and the arpeggio with a slightly different one. That’s what happened to me here. I tend to play the arpeggio using the b7 on the 3rd string but not necessarily when playing the scale. Unfortunately for teaching purposes, I had to settle for one of the 2 choices. Because we usually learn the scale first, I went with the 2nd string.
I am going to edit the video and include a note in there about this in order to avoid confusion. Having said that, you can practice it both ways if you like, or simply play the 7th on the 2nd string.
I hope to update the Scale and Arpeggio book with a section on alternate fingerings and this “2nd-3rd string dilemma”.
I hope this answers your question. Thanks for bringing it to my attention!
Richie, further comment about Calisthenics 1E:
I believe that 1. Lower NT for 3 and b7 may need adjustment as I am hearing you play descending the lower neighbor b7 #5 b7 as an upper neighbor.
Jack.
Richie, further, Exercise 3 pattern 5 ascending you have a lower NT for 3 instead of 1.
I’m being particular because I’m trying very hard to get the Super locrian patterns under my fingers and I must say this has been extremely difficult to hear them as they are and not as a melodic minor 1/2 step up. (I think I’ve spent about 4 months on this.) But I’m forging through and encouraging anyone else who is having difficulty to keep plugging away and the breakthrough will come, even though it might take longer than expected!
Jack
Thanks again Jack. I will fix it…Also thanks for sharing your experience!
The super locrian is the hardest scale I’ve learned, which holds true for most people when they learn it starting on the root. It took me over 6 months to really get a few patterns down back in the day when I decided to stop relying on the melodic minor a half step up. The bottom line is that it really paid off because I finally gained control and an understanding of what interval in the scale I was playing, versus hitting random notes in the mel min. Also did wonders for my ear because I learned to identify all those altered tones for what they are in relation to the real root!Hey Richie,
the way I read the “script” on page 56 – bottom of page – super locrian; it looks like notes are repeated.Is that correct
example – going up from note C on 6th string – is the # 5 played twice in a row?there are no repeated notes in written out exercises of mixolydian
Hi Alex,
Sorry, I can’t understand what you are referring to…I can’t find any instance in which the #5 is played twice in a row on any of the calisthenics on p.56
Can you be more specific?
thanks for reply-
pg 56 super-locrian example 1 of 4 – reading right to left : C Eb E G# G# Bb?
I see the Bb comes 1st in reading – but isn’t the idea that the Bb is preceded by unprepared aproach G#?Alex, I think you are reading the exercise incorrectly. From your description I assume your root is C. Are you aware that this specific exercise is descending only? Therefore it goes from the highest 3rd (E) on the 1st string down to the 6th string and does NOT ascend from the 6th to 1st string.
In the Calisthenics, when there is a “down” arrow on the left, the exercise only works descending; if there is an “up” arrow, it only works ascending which is the case for the 3rd and 4th exercises. All other exercises are to be played descending and ascending as in the videos. Is this what is throwing you off?
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